After being captured from the streets of Moscow, Laika was the first living creature to be sent into Earth’s orbit by the USSR in 1957. The 2019 film, Space Dogs, tells the story of Laika’s spectral return to Moscow, and searches for her ghosts in the city’s street dogs 60 years later. Combining archival material with contemporary documentary footage ‘filmed at dog’s level’, the film reanimates Laika’s spectral afterlives. Drawing on a series of in-depth conversations with the film’s directors, writers, and director of photography, we provide critical reflections on filmmaking practice for animals’ geographies. We offer a three-part typology which frames these contributions: attunement, which focuses on the affordances of filmmaking practice for attuning to the lives of nonhuman lifeworlds; perspective, which documents how filmmaking practice allows for more-than-human urban space to be viewed from alternative vantage points; and narration, which enables filmmakers to experiment with affective modes of representing animals’ lives, offering audiences alternative spatiotemporal experiences. Finally, we reflect on the potentials of filmmaking as a fruitful practice, method, and output for animals’ geographers.

在莫斯科街头被捕后，莱卡是 1957 年第一个被苏联送入地球轨道的生物。 2019 年的电影《太空狗》，讲述了莱卡回到莫斯科的故事，并在 60 年后在城市的街头流浪狗中寻找她的鬼魂。将档案材料与“以狗的水平拍摄”的当代纪录片素材相结合，这部电影让莱卡的幽灵般的来世重现生机。通过与电影导演、作家和摄影导演的一系列深入对话，我们对动物地理的电影制作实践进行了批判性反思。我们提供了一个由三部分组成的类型学来构建这些贡献：调整，专注于电影制作实践的可供性，以适应非人类生活世界的生活；视角，它记录了电影制作实践如何允许从其他有利位置观看超越人类的城市空间；和解说，这使电影制作人能够尝试表现动物生活的情感模式，为观众提供替代的时空体验。最后，我们反思电影制作作为动物地理学家富有成效的实践、方法和产出的潜力。